Marketing Program/ Banner/ Listening Station Titles Promoted This Week:
Bad Suns – Apocalypse Whenever CD/LP+MP3 (Epitaph)
Apocalypse Whenever features dreamy ’80s pastiche flanked by Stratocasters through cranked Vox amps, pulsing synths, and palpable rhythmic energy. While all the elements associated with the band’s signature sound are beautifully showcased, their fourth studio album sees Bad Suns take a more conceptual approach to their songwriting. The 13-track album was conceived as “the soundtrack to a movie that doesn’t yet exist,” setting the scene as the album’s protagonist washes up on the shores of a fictionalized L.A. after a near-death experience at the hands of the turbulent ocean. In order to fully conceptualize their story, the band did what any good director would do; assembling a mood board, filtering their neo-noir version of Los Angeles through the dreamlike haziness of author Haruki Murakami, the futuristic flair of Terminator 2: Judgment Day and Blade Runner, and the lifted cinematography of Spike Jonze’s HER.
Brent Cobb – And Now, Let’s Turn To Page… CD (Ol’ Buddy)
And Now, Let’s Turn to Page… is the fifth album overall and debut gospel album from Georgia singer-songwriter Brent Cobb. It includes eight traditional songs and hymnals Cobb grew up singing in church plus one new original song (“When It’s My Time”), incorporating multiple genres – country, Southern rock, blues, folk, soul. Produced, engineered, and mixed by six-time Grammy-winning producer Dave Cobb (Jason Isbell, John Prine, Brandi Carlile, Chris Stapleton) at RCA Studio A in Nashville, TN.
Buffalo Nichols – Buffalo Nichols CD/LP (Fat Possum)
[10/15/22 release promoted this week] Austin, TX-based vocalist/guitarist/songwriter Buffalo Nichols – Fat Possum’s first solo blues signing in nearly 20 years – delivers his self-titled debut album on the label. The album sees Nichols wrestling with prescient topics, such as empathy and forgiveness on the poignant, ever-building melody of “How To Love”; regret and loss on moving, violin-inflected “These Things”; and the pitfalls of lives lived too close to the edge on the smooth, dynamic “Back On Top”.